Wangechi Mutu has been selected to create sculptures for The Metropolitan Museum of Art's Fifth Avenue façade niches—the first-ever such installation on the Museum's historic exterior—inaugurating a new annual artist commission series. The works will be unveiled on September 9, 2019, and be on view through January 12, 2020.

For more information, please visit The Met's website.

Mary Kelly: Selected Works, a solo exhibition by Mary Kelly, opens at the Weatherspoon Art Museum (WAM) in Greensboro, NC on September 28, 2019 and will remain on view through December 8, 2019. Kelly is currently a Falk Visiting Artist at WAM. This exhibition is organized by Dr. Emily Stamey, Curator of Exhibitions.

For more information, please visit the museum's website.

On September 21, Public Art Fund will present Conquest, Pope.L’s largest group performance to date. Inspired by the artist’s iconic crawls in which he dragged his body across the urban landscape, Conquest will navigate the streets of Downtown Manhattan continuing the irreverent tradition of his more than 30 performative works that have taken place since 1978. In this iteration, a group of 100+ volunteer participants that reflect the cultural and demographic diversity of New York City will crawl in relay a nearly 1.5 mile-long route from the well-to-do West Village to the new granite steps of Union Square via the triumphal arch of Washington Square Park. In choosing to give up their physical privilege, participants satirize their own social and political advantage, creating a comic scene of struggle and vulnerability to share with the entire community. Public Art Fund's presentation will be the artist’s most ambitious yet, putting on full display the power and contradictions of collective expression.

Conquest is the free, outdoor component of Pope.L: Instigation, Aspiration, Perspiration – a trio of complementary exhibitions organized by Public Art Fund, the Whitney Museum of American Art, and The Museum of Modern Art. Addressing the artist’s boundary-breaking practice, the three-institution season of Pope.L’s work utilizes both public and private spaces, and will address issues and themes ranging from language and gender, to race, social struggle, and community.

Pope.L: Conquest is curated by Public Art Fund Director & Chief Curator Nicholas Baume, with Public Art Fund Assistant Curator Katerina Stathopoulou.

"At her Brooklyn studio, Thomas explained to correspondent Nancy Giles it's that validation – demanding to be seen – that is part of what Manet intended by including his black model in Olympia: "It's about them looking out at you, and demanding to be seen, demanding the validation – Look at me, I'm here, I exist, I'm present."

By Kay Lim – 14 July 2019

"I think my paintings emerge through color. They emerge through a few different things, but significantly through the language of color and what is happening at the moment on the palette. The colors are almost the domino effect of going through a painting. One leads to the next, edges between colors interact in a way that inspires me onto the next passage or mixing of colors. I spend a lot of time mixing colors on my palette before I even put them on the surface. Mixing is a constant throughout the process, the jumble of ideas that flow through color affects my relationship to them, and how they react with each other, and that always surprises me. They don't do one thing. They're full of surprises."

By Kristin Farr – July 2019

Commissioned by Studio Voltaire, Rand/Goop (July 5–October 6) is a new large-scale installation at Studio Voltaire by Mary Reid Kelley and Patrick Kelley and marks the artists’ first institutional exhibition in London.

In Rand/Goop, the artists have created a circular narrative for six totemic video sculptures. The protagonists, all performed by Reid Kelley, speak in pithy and often capricious four–line cento poems. The contents are drawn entirely from two sources. Appraisals of Russian–American writer and philosopher Ayn Rand’s ‘Objectivism’ philosophies – limited only to evangelist scholars of her work – are spliced with titles of articles listed on the website of Gwyneth Paltrow’s lifestyle, beauty and wellness brand Goop.

"Now in her late fifties, Roberts clearly feels a sense of responsibility towards the next generation. As someone who creates images, she is engaged with how black boys have been represented. Works in the exhibition such as After Stephen, Ulysses and Give It a Try analyse the way damaging stereotypes created by the media are internalized by youths."

By Charlotte Jansen – 25 June 2019

"This fall, Manhattan’s most prestigious contemporary art spaces unite to celebrate the career-to-date of the renowned (and underappreciated) artist known as Pope.L.

Beginning October 10, each venue––MoMA, the Whitney Museum of American Art, and Public Art Fund––will simultaneously host one component of an exhibition titled “Pope.L: Instigation, Aspiration, Perspiration.” The show, collectively, is a mid-career retrospective that connects the artist’s past (especially his incendiary interventions known as crawls, which literally feature the artist crawling along the ground) with two new commissions."

By Clayton Schuster – 25 July 2019

"Portraiture has, since, remained at the heart of Raffi’s practice. However, far from traditional portrait painting techniques that situate the subject against a plain and unobtrusive background, his approach delights in the embellishment and ornamentation of every aspect of the painting, incorporating elements like huge, vibrant hothouse plants and swirling patterns. As he says: 'My paintings are generally known for their texture and materiality. Variation and experimental paint handling are a huge part of the process. Often there is some form of vivacious patterning, in the form of clothes or wood grain or plants, or maybe all three.'"

By Rebecca Irvin – 07 June 2019

"Roberts approaches collage with the compositional skills and strong opticality of a trained painter who first learned to draw hands and feet as a child by studying paintings by da Vinci and Michelangelo in her family bible. Her visually intense works are constructed in a devotional way that resonates with the viewer in ways similar to religious masterpieces because she felt called to create them. This politically powerful exhibition is not easy to contemplate, nor should it be, because the source content is so disturbing."

By Lita Barrie – 05 June 2019

"The show reaches its apotheosis outdoors, where Nicole Eisenman’s wild Procession struggles on, rain or shine. One huge, dark-skinned man hauls another, who prostrates himself on the bed of a square-wheeled wagon. A cymbal player rides on the back of a crawling slave. More humanoid figures trail behind, sprouting strange growths, effusions, ropes and sticks — a parade of the malformed but dogged. There’s something oddly hopeful about this shambling spectacle, a sense that the journey is cruel and comical, but the destination clear."

By Ariella Budick – 04 June 2019

Liz Glynn is included in Bold Tendencies' rooftop summer program (May 30 – September 21, 2019) in London with her project Unearthed Underground.

Unearthed Underground is a biomorphic network of tunnels spread over the Bold Tendencies' rooftop, some 22m wide and 15m long. The form of the network is taken from Joseph Bazalgette’s original London sewer system, tracing its tunnel network as it converges across London. Glynn’s installation uproots and re-casts this network onto the roof of the car park. The installation is marked by traces of the sewer's curious history: an inverted dinner party scene nodding to the three-hundred person banquet inaugurating the system, and a lost ceramic slipper from the Queen's parade through the tunnels. As a teenage punk in the 1990s, Glynn watched as indie and punk were subsumed by capitalism and now questions whether an "underground" is still possible under the regime of global capitalism. Inspired by the literature of Dostoyevsky, Victor Hugo and CS Lewis - places where the underground represents a darker, fantastic and utopian space - Glynn is equally concerned with historical cases of those members of society operating literally and figuratively in the shadows below ground. The curving forms of the tunnels represent a time before rational urban planning was introduced; in Victorian London, straightening and widening the crocked streets was considered part of a broader effort at moral reform targeting the lower classes. Glynn likens the act of uprooting this sewer – which doubles as a circulatory system – to the current political climate, where the festering discomforts plaguing a society can no longer be ignored.

"Outside, on the terrace, is Nicole Eisenman’s show-stopping Procession (2019), a motley parade of bronze, fibreglass and plaster figures, some of whom will slowly disintegrate in the summer rain. A jet-black giant pulls a cart atop which his pasty pal crouches, doggie-style, awaiting occasional puffs of smoke from his gaping anus. A faceless figure with trashcan lid cymbals seems unfazed by the farts in his face, or the cart’s bumper sticker, which inquires, ‘HOW’S MY SCULPTING? CALL 1-800-EAT-SHIT’. (The answer is very good.) Each figure in this farcical tableau finds dumb, flatulent pleasure in the heavy load it bears – a lesson, perhaps, on how to handle life’s burdens.

Few living artists are as original as Eisenman."

By Evan Moffitt – 20 May 2019

"Sublime is certainly not a word I’d use for the excellences of Nicole Eisenman’s sculptural contribution. Spectacular is, particularly in the context of this anti-spectacle Biennial. Installed on the sixth floor terrace over the High Line, her shambolic tableaus of lurching figures in plaster, metal and Fiberglass embody the exhibition’s history-conjuring, identity-expanding, form-scrambling tendencies, and projects them loud, with a rude anarchic belch of a kind that’s otherwise missing from the show."

By Holland Cotter – 16 May 2019

"There’s no better example of the diversity of this year’s biennial than Wangechi Mutu.

Not just because of who she is, a Kenya-born art star who splits her time between Nairobi and New York, but also because of the way her practice blends painting, immersive installations, performance, video, and other media."

By Ted Loos – 10 May 2019

Organized by Wassan Al-Khudhairi, Chief Curator, with Misa Jeffereis, Assistant Curator, the Contemporary Art Museum St. Louis presents Paul Mpagi Sepuya's first major museum survey (May 17 – August 18, 2019).The artist’s first monograph will be published by CAM for this exhibition, featuring contributions by Grace Wales Bonner, fashion designer; Malik Gaines, writer, performer, associate professor and director of undergraduate studies at New York University’s Tisch School of the Arts; Lucy Gallun, assistant curator of the department of photography at the Museum of Modern Art, New York; Ariel Goldberg, novelist, poet, and essayist; Evan Moffitt, writer, critic, and associate editor of Frieze; and Ikechukwu Onyewuenyi, writer and curatorial assistant at the Hammer Museum, Los Angeles.

"In her mixed-media works, artist Deborah Roberts acknowledges the syncretic nature of black female identity. Debunking societal definitions of ideal beauty and dress, as well as stereotypes of social media, she questions the construction of race and the racializing gaze endemic to Western culture. Her collages and text-based works not only articulate a critique of accepted typologies of the unified self but also affirm the untold value of difference."

By Roxana Marcoci – Spring 2019

"I’ve always embraced this idea of dancing with the personal and the historical in my work. I’ve used references to a number of from artists from that era—Willem de Kooning, Joan Mitchell, Jackson Pollock, Stuart Davis, and so on. My plan is not to get at what each individual artist or work means to me; it’s a formal decision more than anything else. For me, it’s like the way I choose a paint brush—it’s a kind of tool that I’m reactivating in my own language. My plan is not to reveal them directly; it’s about hopefully finding ways to transform them in ways that people are going to feel but not necessarily recognize."

By Taylor Dafoe – 10 April 2019

"In a statement, Eisenman said:

I’m happy to know the fountain will be situated in a place where people are likely to hang out and enjoy some leisure time. [...] I look forward to seeing kids climbing on the sculptures and this piece integrating into the fabric of life in the Fens.

The Münster version of Eisenman’s fountain was so popular in the German city that locals set about raising €800,000 ($900,000) to make the work permanent."

By Benjamin Sutton – 09 April 2019

"Nicole Eisenman’s large-scale outdoor sculpture Grouping of Works from Fountain will be permanently installed at the redeveloped 401 Park building in the Fenway neighborhood of Boston in late spring. The work is an iteration of Eisenman’s Sketch for a Fountain, which made its international debut at Skulptur Projekte Münster in 2017."

09 April 2019

"Throughout her three decades of drawing, painting, and printmaking, Eisenman has patchworked a world from every possible art-historical mode of figuration, bending styles and techniques easily, and often comically, to her will. In her wildly varied body of work, a sensitively observed queer morphology surfaces."

By Johanna Fateman – April 2019

Organized by Anne Ellegood, senior curator at the Hammer Museum, Hammer Projects: Yunhee Min (March 28 – October 27, 2019) adapts the vibrant abstract imagery of her recent approach to painting to the steps of the lobby staircase, in the first Hammer Project to be oriented to the floor rather than the walls. Min completely alters the surface of the stairs themselves, while also making subtle modifications to the walls and lighting in the lobby to underscore how context impacts experience and enhance the visitors’ awareness of the architecture.

"Ms. Mutu, a Kenyan-American artist known for her sculpture, film and performance work, will create a collection of sculptures for the niches in the museum’s facade. This will be the first time that art has been displayed on Richard Morris Hunt’s 1902 facade. The sculptures will be on view from Sept. 9 to Jan 12, 2020."

By Peter Libbey – 23 March 2019

Vielmetter Los Angeles congratulates Nicole Eisenman on her inclusion in the 58th Venice Biennale. The artist has been represented by the gallery since 2007 and will present works in the central exhibition May You Live In Interesting Times, curated by Ralph Rugoff. Works include Dark Light (2017) and Heading Down River on the USS J-Bone of an Ass (2017).

Nicole Eisenman (b. 1965) was a 2018 recipient of the Suzanne Deal Booth/FLAG Art Foundation prize, a 2015 recipient of the MacArthur Foundation “Genius Grant” and the winner of the 2013 Carnegie Prize. Recent solo exhibitions include "Baden Baden Baden," Staatliche Kunsthalle Baden-Baden; “Dark Light,” “Now or Never,” Secession, Vienna, Austria; “Al-ugh-ories,” New Museum, New York; and “Dear Nemesis: Nicole Eisenman 1993 – 2013,” Contemporary Art Museum St. Louis, ICA Philadelphia, and the Museum of Contemporary Art, San Diego, CA. A suite of new sculptures, Sketch for a Fountain (2017), was prominently featured in the 2017 Münster Skulptur Projekt. Eisenman’s work has been included in numerous group exhibitions including the 2016 Biennale de Montreal; “American is Hard to See,” Whitney Museum of American Art; “Painting 2.0: Expression in the information Age,” Museum Brandhorst, Munich; “The Forever Now: Contemporary Painting in an Atemporal World,” Museum of Modern Art, New York; Manifesta 10, the State Hermitage Museum, St. Petersburg; the 2013 Carnegie International; and the 2012 Whitney Biennial. She is participating in the 2019 Whitney Biennial.

Vielmetter Los Angeles is pleased to announce its representation of Deborah Roberts. The artist's inaugural exhibition with the gallery will open in April 2019 at our downtown location.

Deborah Roberts (b. 1962) lives and works in Austin, TX. Roberts makes collages using photographs, magazine clippings, and images from the internet, with a unique visual language evoking African-American womanhood to explore the subjects of beauty, identity and politics.

Roberts is the recipient of The Anonymous Was a Woman award was presented to Roberts in 2018. Forthcoming group exhibitions include ‘Cut and Paste: 400 Years of Collage', Scottish National Gallery of Modern Art, Edinburgh, Scotland, UK (2019) and ‘Plumb Line: Charles White and the Contemporary', Californian African American Museum (CAAM), Los Angeles, USA (2019). Selected exhibitions include: 'Deborah Roberts: The Evolution of Mimi', Spelman Museum, Atlanta, Georgia, USA (2018); 'Reclamation! Pan-African from the Beth Rudin DeWoody Collection', Taubman Museum of Art, Roanoke, Virginia, USA (2018); 'Talisman In The Age Of Difference', Stephen Friedman Gallery, London, UK (2018); 'Legacy of the Cool: A Tribute to Barkley L. Hendricks', MassArt, Boston, Massachusetts, USA (2018);' Constructing Identity in America (1766-2017)', Montclair Art Museum, New Jersey, USA; ‘Fictions, Studio Museum of Harlem', New York, New York, USA (2017); 'I know why the caged bird sings', Carver Museum, Austin, Texas, USA (2016); 'Gently Fried', MACC, Austin, Texas, USA (2015); 'The House on Mango Street', National Mexican American Museum, Chicago, Illinois, USA (2015).

Roberts' work is in the collections of Whitney Museum of American Art, New York; Museum of Modern Art, New York; Brooklyn Museum, New York; The Studio Museum in Harlem, New York; 21c Museum Hotels, Louisville, Kentucky; The Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, New York; Block Museum of Art, Evanston, Illinois; Pérez Art Museum Miami (PAMM), Miami, Florida; LACMA, Los Angeles, California; Montclair Art Museum, Montclair, New Jersey; Blanton Museum of Art, Austin, Texas; and Pizzuti Collection, Columbus, Ohio. She was a recipient of the Pollock-Krasner Grant in 2016.

Mickalene Thomas is included in Arty's list of The Most Influential African-American Artists.

"Thomas views herself as a painter, but all of her paintings begin with photographs and studies of her subjects—family, friends, former lovers, her partner—often set against stylized backdrops of living-room interiors like those of her childhood. Thomas’s paintings are historical interventions that trace intimate relationships between her practice, the formal radicality of modernism, and its outright plunder of Africa."

By Andrea Andersson, The Helis Foundation Chief Curator of Visual Arts, Contemporary Arts Center New Orleans – 25 February 2019

Pope.L is included in Arty's list of The Most Influential African-American Artists.

"It’s never what you expect—Pope.L’s performances, installations, drawings, and paintings often play in the edge of the absurd to tackle weighty issues in society."

By Christopher Y. Lew, Nancy and Fred Poses Curator, Whitney Museum of American Art – 25 February 2019

Curated by Jenny Gheith (Assistant Curator of Painting and Sculpture at SFMOMA), New Work: Rodney McMillian (February 9 – June 9, 2019) at the San Francisco Museum of Modern Art marks the artist's first solo museum presentation on the West Coast. In this exhibition, McMillian brings together his long-standing interest in the representation of the American landscape with an exploration of home as a place and a state of mind.

New Work: Rodney McMillian features a painted abstract panorama spanning the entirety of the gallery, paired with a soundscape interweaving iconic 1980s songs performed by McMillian and the voice of a social advocate proposing radically new language and polices around the condition of homelessness. This immersive installation questions the political systems that promise freedom and equality for all, and highlights the power of the individual to affect hope and create change.

Mary Kelly's site-specific project for Desert X titled Peace is the Only Shelter returns to the Cold War intervention of Women Strike for Peach, a group formed in 1961 to protest against nuclear weapons testing in the Mojave Desert.

The project description reads: A long period of research led Mary Kelly to repurpose Cold War–era peace activism, in this case the anti-nuclear Women Strike for Peace (WSP), formed in 1961. This feminist group initiated lobbies, petitions, vigils, and demonstrations against nuclear testing. Between 1945 and 1992, the United States conducted more than 1,000 nuclear tests, mostly in the desert Southwest. The artist notes, “Although the radical peace initiatives of women in the early post-war period have been largely forgotten, the action-oriented interventions of the Women Strike for Peace set a precedent for the non-hierarchical politics of second-wave feminism, as well as the many prominent protest movements currently underway.” This counter-history takes on renewed significance amid today’s escalated tensions worldwide. A central feature of Kelly’s similarly public intervention is the so-called Doomsday Clock, whose hands tick closer to midnight as militarism rises and humanity inches closer to self-destruction. The allegory in Peace is the Only Shelter is reshaped as a bus shelter, itself a representative timetable. The intervention in public space calls attention to vestiges of the Cold War in our contemporary context, employing slogans from the WSP, where normally there would be advertisements, and cartographies of military expansion in the California desert, where there would be routes and schedules.

Locations:

531 S. Palm Canyon

33.815465, -116.546812

457-467 S. Indian Canyon Drive

33.816646, -116.545421

Southwest corner of Ramon Road and S. Indian Canyon Drive.

33.815720, -116.545957

"In Mary Reid Kelley and Patrick Kelley’s collaborative and often funny works, historical events are rendered as featherlight webs of consequences. For this series of paintings, photographs, and sculptural installations (many of which featured the characters—some historical, some invented—that populate their video In the Body of the Sturgeon, 2017, also on display here), the duo struck a more restrained tone, knitting together histories of settler colonialism, the sociosexual politics of naval life, and President Harry S. Truman’s deployment of the atomic bomb."

By Andy Campbell – February 2019

Susanne Vielmetter Los Angeles Projects is pleased to announce the opening of our new exhibition space in downtown Los Angeles. Spanning the entire length of 1700 South Santa Fe Avenue, the 11,000 sf warehouse will host the gallery’s most ambitiously scaled exhibitions and provides additional space for both a screening and reading room. It will be used as a second exhibition space in addition to our Culver City gallery. The gallery design was developed in collaboration with TOLO Architecture and Anderson Studio.

The gallery will open during Frieze LA with a preview on Friday, February 15, 2019, and will open to the public on Saturday, February 16. The inaugural exhibition will feature new and historic works by artists from the gallery’s roster: Edgar Arceneaux, Sadie Benning, Andrea Bowers, Kim Dingle, Sean Duffy, Nicole Eisenman, Charles Gaines, Karl Haendel, Stanya Kahn, Mary Kelly, Rodney McMillian, Wangechi Mutu, Ruben Ochoa, Pope.L, Amy Sillman, and Nicola Tyson. The inaugural exhibition will be followed by solo exhibitions of new work by Arlene Shechet, Deborah Roberts, Sam Levi Jones, Genevieve Gaignard, Andrea Bowers, Shana Lutker, and Liz Glynn.

The downtown gallery is located at 1700 S Santa Fe Avenue, just south of the 10 freeway. Limited parking is available on the north parking lot adjacent to the building. Visitors to the opening are encouraged to use ride sharing services.

Vielmetter Los Angeles is pleased to announce its representation of Paul Mpagi Sepuya. The artist's inaugural exhibition with the gallery will open in 2020.

Paul Mpagi Sepuya (b. 1982) is a Los Angeles-based artist working in photography. His work focuses on the production of portraiture in the artist’s studio as a site of homoerotic social relations, and the potential of blackness in the space of the “dark room.” His work emerged within the queer zine scene of the 2000s, he became known for his 2005 ¬– 2007 zine series “SHOOT” and first monograph “Beloved Object & Amorous Subject, Revisited” (2008).

Most recently his work has been included in “Being: New Photography 2018” at the Museum of Modern Art, solo museum exhibition “Double Enclosure” at FOAM Amsterdam and “Trigger: Gender as a Tool and a Weapon” at the New Museum. Other solo exhibitions include “Dark Room” at Document, Chicago (2018), “Dark Room” at team (bungalow) (2017), Los Angeles and “Figures, Grounds and Studies” at Yancey Richardson Gallery, New York City (2017). His first museum survey in the United States will open May 2019 at CAM St Louis. Sepuya’s work is in the collections of The Museum of Modern Art, the Whitney and Guggenheim Museums, The Studio Museum in Harlem and MOCA Los Angeles, among others.

"For some artists, MASS MoCA’s iconic Building Five would be a daunting space to fill. The length of a football field, the 30,000 square-foot former textile mill is the nation’s largest free-standing gallery, and the centerpiece of one of its most prestigious museums. But for Liz Glynn ’03, a Boston-born, Los Angeles-based artist known for ambitious projects like attempting to literally rebuild Rome in a day, it was the ideal setting for a new work.

By Samantha Culp – January/February 2019

Vielmetter Los Angeles is pleased to announce its representation of Genevieve Gaignard. The artist's inaugural exhibition with the gallery will open in June 2019.

Genevieve Gaignard (b. 1981) lives and works in Los Angeles, CA. Her work focuses on installation, photographic self-portraiture, and sculpture to explore race, femininity, class — and their various intersections. The daughter of a black father and white mother, Gaignard’s youth was marked by a strong sense of invisibility. Was her family white enough to be white? Black enough to be black? Gaignard interrogates notions of “passing” in an effort to address these questions. She positions her own female body as the chief site of exploration—challenging viewers to navigate the powers and anxieties of intersectional identity.

Influenced by the soulful sounds of Billy Stewart, the kitschy aesthetic of John Waters and the provocative artifice of drag culture, Gaignard uses low-brow pop sensibilities to craft dynamic visual narratives. From the identity performance ritualized in ‘‘selfie” culture to the gender performance of femininity, Gaignard blends humor, persona and popular culture to reveal the ways in which the meeting and mixing of contrasting realities can feel much like displacement.

Gaignard received her BFA in Photography from Massachusetts College of Art and Design, Boston, MA, in 2007, and her MFA in Photography from Yale University, New Haven, CT, in 2014. She has been the subject of solo exhibitions including Counterfeit Currency, The FLAG Art Foundation, New York (2018); Hidden Fences, Praz-Delavallade, Paris, France (2018); Prospect 4: The Lotus in Spite of the Swamp, curated by Trevor Schoonmaker, New Orleans, LA (2017); In Passing, Houston Center for Photography, Houston, TX (2017); The Powder Room, Shulamit Nazarian, Los Angeles, CA (2017); Smell the Roses, California African American Museum, Los Angeles, CA (2016); among others. Her work has been included in numerous group exhibitions, including the Daegu Biennial, curated by Ami Barak, Daegu, South Korea (2018); Talisman in the Age of Difference, curated by Yinka Shonibare MBE, Stephen Friedman Gallery, London, UK (2018); Fictions, curated by Connie H. Choi and Hallie Ringle, The Studio Museum in Harlem, New York, NY (2017); Face to Face: Los Angeles Collects Portraiture, curated by Naima J. Keith and Diana Nawi, California African American Museum, Los Angeles, CA (2017); among others. Gaignard has been the subject of articles and reviews in publications including Artforum, Artsy, Cultured Magazine, The New Yorker, The New York Times, W Magazine, Interview, The Los Angeles Times, and VICE, among others. Select public collections include Studio Museum in Harlem, NY; California African American Museum, CA; Pérez Art Museum Miami, FL; The Nasher Museum of Art, Durham, NC; The FLAG Art Foundation, NY; and the San Jose Museum of Art, CA.

"Representation as art’s historical, institutionalized function in modern society — which much contemporary art prides itself as having overcome — in Landline appears as a treacherous revenant, introducing the painterly impossibility of consistently staging visual affirmations of the present."

By Kerstin Stakemeier – 11 December 2019

"By titling her new exhibition Landline, Amy Sillman might seem to suggest a longing for the past. But no one would accuse the artist of nostalgia. The show—organized by Martin Clark and containing thirteen paintings, several groups of works on paper, and two animated videos—is set firmly in the present, and makes it clear that our politics are ruling, invading, colonizing Sillman’s mood."

By Rachel Haidu – December 2018

Organized by Shamim M. Momin (Senior Curator at the Henry Art Gallery), Edgar Arceneaux: Library of Black Lies (November 17, 2018 – June 2, 2019), comprised of an architectural installation, posits that there is no singular truth to history and that even well-intentioned narratives can lock things down to one agenda or cause. Arceneaux argues that the true nature of people and events, which is insistently messy, chaotic, and rhizomatic, is often whitewashed and sterilized.

Structured to recall a labyrinth, the installation contains stacks of books, some readable and some obscured by a crust of crystalline sugar. The titles evolve like a game of telephone, slightly misheard and misrepresented, documenting tomes that figured strongly in Arceneaux’s intellectual history (e.g. Birth of a Nation) then evolving into invented or unrelated ones (Birth of a Night, Nation Goodnight, Goodnight Moon).

Library of Black Lies was originally commissioned by LAND (Los Angeles Nomadic Division) and first presented in Paris in Wasteland: Art from Los Angeles at the Mona Bismarck American Center and Galerie Thaddaeus Ropac Paris Pantin in 2016. Lead support is provided by 4Culture. This exhibition is supported by the Terra Foundation for American Art on behalf of board member Mimi Gardner Gates.

"Certainly, she appears to be championing all the things that paintings cannot so readily do, and so the works are particularly mighty, with some weighing up to a staggering 350 pounds. Eisenman also seems to relish in the many playful viewing possibilities of three-dimensional work, and each of her sculptures looks completely different from any given angle: busts are surprisingly opened at the back with cuckoo clocks dangling from them, or little devil spewing water, or a witch brooding within."

By Kate Brown – 08 November 2018

Vielmetter Los Angeles congratulates Pope.L on Instigation, Aspiration, Perspiration, a trio of complementary exhibitions of his work in New York organized by the Museum of Modern Art, the Whitney Museum of American Art and Public Art Fund to occur simultaneously in the fall of 2019.

Through a combination of archival videos, photographs, ephemera, sculptural elements, and live actions, MoMA will present a survey of thirteen early landmark performances, spanning from 1978-2001, that helped define Pope.L's career and are representative of his core concerns. Organized by Stuart Comer, Chief Curator, Department of Media and Performance Art, with Danielle A. Jackson, Curatorial Assistant, Department of Media and Performance Art.

For the Whitney Museum and on the occasion of his receipt of the 2017 Bucksbaum Award, Pope.L expands upon his ongoing exploration and use of water with Choir, a new installation inspired by the fountain, the public arena and John Cage’s conception of music and sound. Organized by Christopher Y. Lew, Nancy and Fred Poses Curator, with Ambika Trasi, curatorial assistant, Whitney Museum of American Art.

Inspired by his provocative, decades-long crawls, Pope.L will unveil his largest and most ambitious crawl to date. Titled Conquest, the project will involve members of the public to explore the potential and power of collective action. Organized by Public Art Fund Director & Chief Curator Nicholas Baume.

Nicole Eisenman's solo exhibition Baden Baden Baden (November 2, 2018 – February 17, 2019) at the Staatliche Kunsthalle Baden-Baden marks the artist's first institutional solo exhibition in Germany.

Since her breakthrough in the New York art scene in the 1990s, American artist Nicole Eisenman (born in 1965 in Verdun, France) has been one of the most significant voices of her generation. Humor and a deep sense of reflection on history, art history, and pop culture define her large-format paintings and drawings. Nicole Eisenman is virtuosic in playing with elements derived from a diversity of periods. She cites Renaissance painting while alluding to modernist trends, accentuating these through her anti-aesthetics and a kind of in-your-face brashness. Meanwhile, she creates an alloy of the political and the private, high art and subculture. From this admixture, fascinating, narrative works emerge with their uniquely idiosyncratic formal and technical rulesets – in whatever her choice medium.

First cherished as the insider tip for the artist’s artist, Eisenman has become one of the greats on the art market. With her spectacular fountain system for the Skulptur Projekte Münster (2017), she also established her name in Germany. For the Staatliche Kunsthalle Baden-Baden, Eisenman’s exhibition primarily focuses on her sculptural work for the first time. On display are more than twenty sculptures from recent years, including twelve new sculptures and paintings created especially for »Baden Baden Baden«. Her preference for texture and the experimental play of different materials and their effects is also visible in Eisenman’s sculptural work: sometimes the bronze surfaces are highly polished; sometimes they appear coarse and dull. At others they even vibrate with color or scintillate with applied fabrics. The physiognomies of the sculptures are nuanced, abstracted or comically distorted. One of the sculptures spits water like an out-of-control fountain, another one puffs and sputters. In addition to the sculptures the exhibition will also showcase paintings, a video work, and a six-part series of wood reliefs by the artist.

A publication produced in collaboration with Verlag der Buchhandlung Walther König Cologne will accompany the show, with texts by Hannah Black and Hendrik Bündge as well as photographs by Ryan McNamara.

"Sillman’s process has an internal momentum that won’t be quelled until it’s had the last word. ‘Landline’, her first UK institutional show, steams through Camden Arts Centre: as if dossiers have been shaken loose, then stuffed back into a briefcase, her language is unpacked across extended sequences of works on paper, then compressed in the impacted, waxy surface of her canvases."

By Nicholas Hatfull – 26 October 2018

Amy Sillman's solo exhibition Landline (September 28, 2018 – January 6, 2019) at the Camden Arts Centre explores the depth and scope of Sillman’s exuberant practice ranging from the political and social to the emotional and psychological in an extraordinary body of work that encompasses gestural drawing, painting, silkscreen print processes, video animation and zines.

Commissioned by the Madison Square Park Conservancy, Full Steam Ahead is Arlene Shechet's first major public art project, which will feature a series of new sculptures in porcelain, wood, and cast iron installed around and within the emptied circular reflecting pool in the north of Madison Square Park in New York.

Arlene Shechet said of the project: My hope has been to reimagine the hardscape of the Park with delight and surprise. New Yorkers rely on the sidewalks, the pavement, and the street as the core of their urban lives. Full Steam Ahead becomes a lively and human amphitheater, softening the hardscape through sculptural intervention evocative of 18th-century garden landscapes.

Arlene Shechet: Full Steam Ahead will be on view September 25, 2018 through April 28, 2019 at Madison Square Park in New York.

Vielmetter Los Angeles congratulates Nicole Eisenman, winner of the 2020 Suzanne Deal Booth/FLAG Art Foundation Prize, which includes a $200,000 cash award, a catalog and a solo exhibition at the Contemporary Austin and at FLAG in New York.

Eisenman was selected by an independent advisory committee made up of renowned curators and art historians from across the U.S., led by Heather Pesanti, Chief Curator & Director of Curatorial Affairs at The Contemporary Austin. This year's advisory committee included Ian Berry, Dayton Director of The Frances Young Tang Teaching Museum and Art Gallery and Professor of Liberal Arts at Skidmore College, Saratoga Springs, NY; Lauren Haynes, Curator, Contemporary Art at Crystal Bridges Museum of American Art, Bentonville, AR; Eungie Joo, Curator of Contemporary Art, San Francisco Museum of Modern Art, San Francisco, CA; Helen Molesworth, critic; and Lilian Tone, Assistant Curator, Department of Painting and Sculpture, The Museum of Modern Art, New York, NY; along with institutional advisor Stephanie Roach, Director of The FLAG Art Foundation.

"Nicole Eisenman’s paintings have long held a dialogue with current events, but the election of President Trump seems to have given them new urgency and vigor. Her latest exhibition at Susanne Vielmetter Los Angeles Projects is equal parts lament, lampoon and savage reckoning. It is a must-see mirror held up to our roiling political moment."

By Sharon Mizota – 02 April 2018

"AT 62, POPE.L is inarguably the greatest performance artist of our time. This is exactly the kind of label he would find absurd, but over the course of the last four decades, no artist has so consistently broken down the accepted boundaries of the genre in order to bring it closer to the public, with lacerating, perspicacious and gloriously anti-authoritarian projects that play with our received notions of race and class and almost always cut more than one way."

By Megan O’Grady – 02 March 2018

Vielmetter Los Angeles is pleased to announce its representation of Liz Glynn. The artist's inaugural exhibition with the gallery will open in Fall 2019.

Liz Glynn creates sculpture, large-scale installations, and participatory performances using epic historical narratives and cultural artifacts to contemplate the potential for change in the present tense. Her practice functions as a form of materialist philosophy: activating objects through performance, changing materials to trace shifts in cultural value, and embodying the rise and fall of empires through cycles of actions and sculptural production. Her work explores individual agency and subjectivity within complex superstructures in the face of technological acceleration and an increasingly abstract economy.

Liz Glynn (b. 1981, Boston, MA) received her Bachelor of Arts degree at Harvard College, Cambridge, MA in 2003 and her Masters of Fine Art degree at the California Institute of the Arts, Los Angeles, CA in 2008. Recent solo exhibitions include “Open House,” presented by The Public Art Fund at Doris C. Freeman Plaza, New York, NY, and “The Myth of Singularity, Los Angeles County Museum of Art, Los Angeles, CA. Her most recent project, The Archaeology of Another Possible Future," a seven-part installation spread across 20,000 square feet, is currently on view at MASS MoCA in North Adams, MA. Her work has been included in group exhibitions at venues including the Barbican Center, London UK; the New Museum, NYC; MoCA, Los Angeles; the Petit Palais, Paris; Kunstlerhaus Halle der Kunst & Medien, Graz, Austria; and the Hammer Museum, Los Angeles. Glynn's work is included in public collections of the Hammer Museum, Los Angeles; Los Angeles County Museum of Art; Fondazione Sandretto Re Rebaudengo, Turin, Italy; and Getty Research Institute, Los Angeles. Glynn lives and works in Los Angeles, and is also represented by Paula Cooper Gallery, New York, NY. Her first solo exhibition at the gallery is forthcoming.

"Spread out on the floor of Rodney McMillian’s Los Angeles studio is a piece of the White House. To be certain, it’s not part of the actual White House, but , McMillian’s handcrafted approximation — its tidy rows of symmetrical windows and neoclassical pediment rendered in a patchwork of floppy white vinyl bound with black thread."

By Carolina A. Miranda – 10 January 2018

Vielmetter Los Angeles congratulates Mary Kelly on the acquisition of her archive by the Getty Research Institute (GRI). The archive not only includes research, documentation and ephemera related to works created between 1968 and 2014 but also Kelly’s collections of Marxist, feminist, and political journals, pamphlets and flyers collected during her time in London and Beirut. Notable projects include Post-Partum Document (1973-79), Interim (1984-89) and Gloria Patri (1992). All documentation will be catalogued and made available to the public by the GRI.

Organized by Heather Pesanti, Senior Curator, Wangechi Mutu's solo exhibition at The Contemporary Austin (September 23, 2017 - January 14, 2018) presents new and existing works at the Jones Center on Congress Avenue—her first major monographic exhibition in Texas since 2004, and her first solo exhibition in Austin. Anchoring the exhibition is a new, site-specific edition of Throw, 2017, an action painting generated by a performance in which Mutu throws black paper pulp against the wall, creating an abstract composition that dries, hardens, and then degrades over time.

Nicole Eisenman's solo exhibition "Dark Light" at the Secession (September 14 – November 5, 2017) presents paintings and drawings from the past year that respond directly to the 2016 U. S. presidential elections. Recalling earlier works in which apocalyptic scenes reflected relations of power and the individual’s impuissance, the new cycle paints a gloomy panorama of America under Donald Trump and a society that, apathetic and absent-minded, is edging ever closer to the abyss.

The centerpieces of the exhibition, the titular Dark Light and Going Down River on the USS J-Bone of an Ass, are two monumental and highly elaborate compositions that could hardly be more different.

Vielmetter Los Angeles congratulates Pope.L on receiving this year’s Bucksbaum Award.

Established in 2000 by longtime Whitney Museum of American Art trustee Melva Bucksbaum and her family, the Bucksbaum Award recognizes an artist included in the Whitney Biennial “who has previously produced a significant body of work, whose project for the Biennial is itself outstanding, and whose future artistic contribution promises to be lasting.”

Vielmetter Los Angeles congratulates Mary Reid Kelley on winning a 2016 MacArthur Award. Commonly known as the “genius grant,” the award is “based on a track record of significant accomplishment, and potential for the fellowship to facilitate subsequent creative work. The MacArthur Fellows Program awards unrestricted fellowships to talented individuals who have shown extraordinary originality and dedication in their creative pursuits and a marked capacity for self-direction.”

"With impressive consistency, Roden has shown himself to be a master adapter, a painter who looks long and hard, doubts everything and goes back to a canvas so many times that his finished compositions have the presence of a half-dozen paintings — not to mention styles, palettes and atmospheres — piled atop one another."

By David Pagel – 19 February 2016

Vielmetter Los Angeles is pleased to announce its representation of Angel Otero. The artist's inaugural exhibition with the gallery will open in November 2014.

Angel Otero (b. 1981, Santurce, Puerto Rico; lives and works in Brooklyn, New York) is a visual artist best known for his process-based paintings. Through his innovative process of oil paint scraping, Otero venerates historical oil painting while confronting it head on. Otero's "deformation" approach to painting his works, first across glass and then once dry, flaying the dried paint and reconstructing the composition anew across large canvases, is representative of how the artist perceives the process of reconfiguring both personal and historical narratives. Otero’s work sometimes uses process as a way of confronting deep, personal memories. Instead of representing his life through art, he archives moments within it by creating opportunities of surprise and discovery. His work is a constant negotiation between the individual and art history.

"Queer is here to stay. So are feminism, art history, unruly flesh, anarchic laughter and painting. You’ll find them all in Dear Nemesis, Nicole Eisenman 1993-2013, at the Institute of Contemporary Art here, a spicy and tightly edited midcareer survey of one of the most interesting New York artists to come out of the 1990s."

By Holland Cotter – 25 September 2014